dimanche 28 février 2016

Source Mid-Day by Benita Fernando
Shilpa Gupta, whose work of marble slabs referring to the unlawful killings in Kashmir, was to be exhibited at the show, said, “The situation at the museum is not easy, and one hopes that it will pass. Tasneem has been one of the few to bring contemporary art to a wider audience and we are aware of the many challenges she is facing.” Prajakta Potnis, the youngest artist in the show, said, “It is a reflection of today’s times and it is tragic that the show got cancelled,” she said. Mithu Sen, who was to show her installation, Museum of Unbelonging at the exhibition, said, “We got to know of the cancellation over email, and we are still not sure of the exact reasons. This show celebrated India.”
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Publié par
Herve Perdriolle

samedi 27 février 2016

Source Business Standard by Ritika Kochhar
The waiting room and lobby with white walls on the first floor of the six-floor house is disorienting because it’s so bland after the interesting exteriors. But when you look around, there’s an unmistakable Anish Kapoor mirror at the far corner. The Samdanis say they spent a year looking for a piece they liked. Next to it is a series of Zarina Hashmi’s works with their clean monochromatic lines, interspersed with a similar work from the same genre by Prabhavathi Meppayil called Untitled II (2009).
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Source Livemint by Chanpreet Khurana and Dhamini Ratnam
Curators, gallerists, auctioneers and collectors are the tastemakers of a country’s art scene. They pick the works we see in exhibitions, support artists by funding their ideas, and point out to us the important art themes and experiments of our times. In India, people in the contemporary arts have been waging a battle to emerge from the shadows of their rich cousin: modern art. Globally, a retrospective of Nasreen Mohamedi is opening at The Metropolitan Museum of Art in New York in March. In money terms, the biggest haul is still for works by artists like M.F. Husain and V.S. Gaitonde. We met 14 people who are shaping the contemporary art space in India, spotting talent and taking it places.
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Publié par
Herve Perdriolle

jeudi 25 février 2016

Source Blouin Art Info by Archana Khare-Ghose
Something interesting is beginning to happen in the Indian art market. No, it is not about the global favorites Vasudeo S. Gaitonde and Anish Kapoor, who predictably emerged as toppers in Saffronart’s Evening Sale of Modern and Contemporary Indian Art held on February 24. It’s about those few works of art that were picked up by buyers for three and four times the pre-auction estimates. A glimpse of that maturity was visible at Saffronart’s February 24 Evening Sale of Modern and Contemporary Indian Art. Two early landscapes by K.H. Ara (1914-1985) were sold for four times their pre-auction estimates, a wood sculpture by Sankho Chaudhuri (1916-2006) went for a little more than three times its estimate, and an oil on canvas by Gulam Mohammed Sheikh (b. 1937) was sold for three times its estimate.
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Source The Free Press by Vishal Rajemahadik
Japanese artists have adopted Ganjad village in Palghar district and have decided to give this age-old art the required boost and keep it alive. This group will also continue to construct traditional huts made of cow dung and bamboo sticks and accordingly have been creative enough to initiate cow dung banks which would assist in collecting the required cow dung. Till now, Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi has been organizing annual conclaves to spread traditional Warli paintings. According to Kazunori Hamao, Director of Warli Project Ganjad village was selected as this is where this art was accepted and flourished in the earlier days. He has been regularly visiting this village for the last 4 years and hence his group decided to promote this art globally.
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mardi 23 février 2016

Source The Conversation by Sajan Mani
The student president of Jawaharlal Nehru University in Delhi, a major Indian university, was recently arrested after a speech later deemed an insult to “Mother India”. This is simply the latest event in a trend of regressive actions from the Indian government – a similar agenda can be seen from unfolding events at Jadavpur University and Hyderabad Central University. As commentators have suggested, “the government does not want to just crush dissent; it wants to crush thinking”. Intellectual whitewashing is gaining momentum. And in response, Indian artists are increasingly delving into history in order to critique the present.
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Publié par
Herve Perdriolle

mardi 9 février 2016

Source Yareah Magazine
Certainement l'une des figures fondatrices de l'art contemporain indien comme l'est Helio Oiticica (1937-1980) au Brésil...
Nasreen Mohamedi (1937 – 1990) at The Met Breuer (18 March – 5 June 2016), New York, is by far the most comprehensive exhibition of any Indian artist in the United States. With more than 150 works by Mohamedi on display, the exhibition brings to an international audience more than three decades of her work, comprising of her few early oil paintings, collages, drawings in ink and graphite, watercolours, and photographs. Mohamedi rarely theorized or spoke about her work but documented her internal dialogue in a form of soliloquy, in tiny personal diaries and notebooks, some of which will be on display in the exhibition. The exhibition explores the conceptual complexity and visual subtlety that made her practice unique in its time.
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Publié par
Herve Perdriolle

mercredi 3 février 2016

Source Blouin Art Info by Archana Khare-Ghose
As the eighth edition of the India Art Fair closed on Sunday, many snapshots from the fair found permanent home in the cameras, mobile phones and minds of people for the sheer brilliance of creations. Largely due to the avowed purpose of the organizers to keep it tightly curated with highest standards of quality to earn a place at the fair, even if it meant a fewer number of galleries, every booth was a delight in its own right. If there were the fantastic modern works of Indian art on the one hand, inspiring awe for the tremendous monetary value that each carries, there were cutting-edge contemporary works on the other hand, surprising with all that is possible to do with just a bit of creativity. The best thing about the fair was the more space available to the aisles that made navigating through the venue so much easier.
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Source Indian Express by Vandana Kalra
In 1967, two Cologne-based gallery owners conceived the Cologne Art Market – a trade fair where German galleries set up temporary stalls to exhibit their stock. The next year, a similar event started in Basel, with the inclusion of international galleries. The rest is history. The number of fairs now reportedly stands at 260 plus, with major ones spread from March to December, starting with The Armory Show in New York and ending with Art Basel Miami Beach. Nearer home, there are fairs in Hong Kong, Dubai and Singapore. And though some might complain about the “fatigue” setting in, moving from one fair to another, there is no arguing that art fairs do make the process of viewing art more democratic.
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Source India Today by Prachi Bhuchar
Group Editorial Director Broadcast and New Media, India Today Group, Kalli Purie, set the tone for the evening as she explained how the germ of the idea was planted, nurtured and finally implemented as the brand celebrates its 40th anniversary. Chinese dissident artist Ai Weiwei spent 48 hours with the India Today team in Lesbos, Greece, sharing details of his latest project, among other things. On the occasion of the awards, he shared a message with everyone present saying that 'Artists have to be more human rather than political and it is encouraging fit me to be active and be part of political discussions and change.'
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Source Art Radar
The Triennial began in 1993 and this year it is expanding to include, for the first time, artists from Mongolia, Nepal, the Kyrgyz Republic, Iraq and Georgia. The gallery’s curators have worked closely with artists and communities in the region to develop the programme. The opening weekend features artist talks and performances followed by a conference on Monday 23 November 2015. There are also film screenings and an extensive kids programme with workshops from artists from Mongolia, South Korea, India, Malaysia, Iran, New Zealand and Australia. Art Radar profiles eight artworks and their artists featured in this year’s Triennial.
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Source The Guardian by Andrew Frost
The globalisation of contemporary art has led to a regrettable homogenisation of its forms and ideas. The curatorial project is therefore to try to make sense of it all as the truly eccentric gets pushed to the edges and large-scale, museum-friendly art sucks up the attention. One of the most interesting aspects of APT8 is the combination of vernacular and indigenous arts within a contemporary art setting. A selection of works from India, for example, challenges the orthodoxies of what is considered contemporary while reminding the viewer much of the most visually inventive contemporary painting has its roots in traditions hundreds, if not thousands, of years old.
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Source My City Life by Kenneth Lo
The APT Asia Pacific Triennial of Contemporary Arts returns to Queensland as QAGOMA's flagship for contemporary art exhibits. With 160 biennials and triennials currently staged worldwide, the APT is the only exhibition series to focus on the contemporary art of Asia, Australia and the Pacific, extending to a variety of events encouraging discussions, interaction and the senses for a fully immersive exhibit. Certainly, there are high expectations following the resounding success of APT7, featuring renowned Indian-born artist Raqib Shaw showcasing his exquisite stained-glass 10-meter-long masterpiece entitled ‘Arrival of the Horse King (Paradise Lost Series)’ as well as the delicate suspended re-creation of Japan’s Byodo-In Temple as a vertical double image by Japanese artist Takahiro Iwasaki.
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Source The Quint by Divyani Rattanpal
Menstruation is currently the great fault line in Indian religious discourse. The rift is deep in Sabarimala and Shani Shignapur. And even Haji Ali Dargah is guilty as charged.
But artist Megha Joshi brings an ironic twist in the tale: representing labias made of jyots or oil lamp wicks, soaked in vermillion (kumkum), she manages to use ritualistic paraphernalia in her crusade against the unequal practices perpetrated by religion.
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Publié par
Herve Perdriolle

mardi 2 février 2016

Source Livemint by Chanpreet Khurana
What is happening now is that the Tate has created a committee. Indians contribute to be on that committee to purchase Indian art. So it’s Indian money purchasing Indian contemporary art, but for a foreign museum. I find that a bit disturbing. In 15 years, if we want to see the best of our contemporary art produced in the 1990s and at the turn of the century, we will have to go to Japan or the UK or other places that have been collecting Indian art. Some people may say it is a reflection of a globalizing world, but I also feel it’s a very poor comment on our government policy for the arts.
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This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.